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Re: Is lilypond really suitable for composing?

From: David Wright
Subject: Re: Is lilypond really suitable for composing?
Date: Mon, 26 Mar 2018 08:32:14 -0500
User-agent: Mutt/1.5.21 (2010-09-15)

On Mon 26 Mar 2018 at 15:21:57 (+0200), Urs Liska wrote:
> Am 26.03.2018 um 14:52 schrieb Karlin High:
> >On 3/25/2018 6:43 AM, Kieren MacMillan wrote:
> >>Apparently you haven’t been to any new classical music concerts
> >>in the last half-century. It’s*quite* clear that many composers
> >>— especially inexperienced ones — have no problem composing
> >>dissonant pieces without access to the the actual timbre and
> >>overtone composition of the music they’re writing.
> >
> >"
> >There was a time when the first performance of a recent commission
> >struck fear into the most broad-minded listener. We used to brace
> >ourselves for horror and were rarely disappointed. In those days,
> >the struggle to write more atonally than the next man was
> >palpable. No self-respecting composer would pen a concord if he
> >wanted to be taken seriously by his peers: to do so was to be
> >compared to those who made soft-harmony arrangements of famous
> >melodies. Now soft harmony has become dignified, with all manner
> >of clever names — tintinnabuli, holy minimalism; while popular
> >tunes are quickly identified as being ‘chant’, and quoted whole.
> >"
> >- Peter Phillips
> ><>
> >
> >
> "Die einen, [seine] ganz besonderen Freunde, behaupten, gerade dieses
> Werk sei ein Meisterstück, das sei eben der wahre Stil für die höhere
> Musik, und wenn sie jetzt nicht gefällt, so komme das nur daher, weil
> das Publikum nicht kunstgebildet genug sei, alle diese hohen Schönheiten
> zu fassen; nach ein paar tausend Jahren aber würde sie ihre Wirkung
> nicht verfehlen ... [Die Gruppe der wohlwollenden Zuhörer] fürchtet
> aber, wenn [er] auf diesem Wege fortwandert, so werde er und das
> Publikum übel dabei fahren. Die Musik könne sobald dahin kommen, daß
> jeder, der nicht genau mit den Regeln und Schwierigkeiten der Kunst
> vertraut ist, schlechterdings gar keinen Genuß bei ihr finde, sondern
> durch eine Menge unzusammenhängender und überhäufter Ideen und einen
> fortwährenden Tumult aller Instrumente zu Boden gedrückt, nur mit einem
> unangenehmen Gefühl der Ermattung den Konzertsaal verlasse."
> This is one of my favourite reviews of a first performance. My shot
> at a translation:
> "One group, the composer's very special friends, proclaim
> particularly this composition to be a master work, bearing the
> genuine style for higher music, and if people don't like it now,
> it's just because the audience isn't studied well enough to grasp
> all this high beauty; a few thousand years later it would definitely
> not miss its effect anymore [...] Others [the group of benevolent
> listeners] fear that, if he'd continue on that track, it might end
> badly for the composer and the audience. The music could soon reach
> a point where anybody who isn't intimately familiar with the rules
> and intricacies of the art just won't get *any* joy from it. Instead
> they would leave the hall only with an unpleasant feeling of
> fatigue, depressed by the amount of disjoint and cluttered ideas and
> a continuous turmoil of all instruments."
> Unfortunately I don't have the book at hand where I originally
> copied this from, so I can't look up the middle section (what the
> third group, the vocal opponents, have to say). But I think even
> with this you get the gist.
> Bets are open what this is about ;-)

That's what google is for, attached.


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